This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

Traditionally, Kuchipudi was performed at night in Hindu temples or by the light of a fire, for people returning home after a long time. It is characterized by fast paced steps in time to the rhythm and sculptural poses. While it was traditionally performed only by Brahmin (priests), with men performing female roles as well, it is now performed mainly by female dancers.\n\nTarangam is the most popular repertoire in the Kuchipudi dance-drama tradition, which demonstrates an extremely high level of skill. The almost acrobatic movements of the dance contain philosophical metaphors for the heavy responsibilities of life. The Kuchipudi dance is rooted in the Natya Shastra, an ancient Sanskrit Hindu text, while the name Kuchipudi originates from the Kuchelapuram village in the Southern Indian state of Andhra Pradesh. Although Kuchipudi was frequently performed up to the middle ages (15th-16th century), it suffered a decline following the muslim invasion. Later in the early 17th century, it spread across the entire region of India. During the European colonial era, traditional Indian religion and culture was suppressed by Christian missionaries, and the dance suffered the indignity of being treated as a vulgar dance performed by prostitutes. It was revived in the 1920s through the effort of experts who worked to restore the traditional dances of India.\n\nCharacteristics:\n∙One of the 8 major traditional dances recognized by the Indian government\n\nPerformed by Ananda Shankar Jayant\nDirected by Sanjukta Sinha

Having originated in bhani, a type of drama, mentioned in at least 10th century inscriptions of Cambodia, Lkhon Khol today is performed by males, wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. It performs only episodes from Reamker, a Cambodian version of the Indian Ramayana.\nLkhon Khol Wat Svay Andet is distinct from the generic form because its specific aim is to propitiate Neak Ta (guardian spirits of a place and its people; in this case the community of Wat Svay Andet), and in so doing, protect and make prosperous the community, its lands and harvest. When Lkhon Khol is performed especially during a fixed date after the New Year, spirit mediums are presented to facilitate interaction between the Neak Ta, performers and villagers. Spirit mediums, who predict the situation for the upcoming year, attend the performance and become possessed by the Neak Ta and then might get on the stage. When the spirits are satisfied by the performance, villagers are blessed by them, and if not, dancers will stop; the music continues; and the audience will fall silent and carefully listen to the spirits. Then the episode must be performed again. nIn Wat Svay Andet, Lkhon Khol has such spiritual significance in the community that some Reamker characters have become local deities in themselves. For example, on the campus of the monastery, a shrine for Hanuman (Monkey General) locally called Lok Ta Kamheng is built and venerated. The mask for Tos Mok (Ravana, King of the Demons) also lives and is venerated in a spirit house at the home of the family that has danced that role for several generations. In addition to the intrinsic specificity of the Wat Svay Andet form, some external differences are noted, such as the fact that three of the key roles are not masked. In fact their faces are painted white, indicating that they are neither mortals nor gods. The costumes, which are very refined with magnificent embroidery, are also different especially from those of the Battambang Troupe. Melodies for recitations are also different and richer. nLkhon Khol Wat Svay Andet is not performed by professional artists, but by the villagers themselves, and they do not perform for money but for merits and their community’s well-being. Everyone in the community is obliged to contribute, either by direct participation in the performance or by sharing support, e.g. financial or labor. Even villagers, who have migrated for work, tend to come back for the ritual and believe that if they don’t come, they could be struck by illness or bad luck.

Likay is one of Thailand’s oldest performing arts and is characterized by a high degree of audience participation. The roots of the name Likay can be traced to the Hebrew word zakhur, meaning “reciting to praise the Lord.” Stories in Likay are often inspired by classical works of literature and include stories of love, deception, and comedic episodes. \n\nIn modern times, new stories have been added to the art\u0002form as it is now performed at weddings, ordainment ceremonies, funerals, and temple events. This video shows the various essential elements of a Likay performance and the story of the members of a troupe that transmits Likay as a family business.

Inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2018\nKhon is a performing art that combines musical, vocal, literary, dance, ritual, and handicraft elements, traditionally transmitted in royal or princely courts, and in dance masters’ households. It tells the story of Ramakien—the localized Thai version of the Ramayana epic. The drama is enacted through dancing accompanied by a piphat classical xylophone ensemble, singing, and narration. On one level, Khon exemplifies the refined artistic traditions nurtured by the Thai courts throughout centuries. On another level, as a captivating theatrical production, it offers a rich experience that can be appreciated and understood by individuals from diverse social backgrounds.